Ivy MA's second solo exhibition with the gallery, Numbers Standing Still inquires into our willingness to forget. On view are 8 sets of palimpsest drawings on re-photographed inkjet prints. Elaborating on her previous practise of exploiting the in-betweeness in cinematic stills, this new series explores the possible readings of the Barthesian punctum in testimonial images of lived lives, namely those displayed in war memorials.
Walking Towards sets the locus for this series. A few pixels, suggestive of a man crossing a bridge in a blitzed seaport, dominate the scene. The image found in the Hiroshima Peace Memorial Museum was the point of departure; vast areas are omitted through scratching and highlights are overlapped with pigments. This cropped image and intuitive transformation are the result of an intimate discourse between the artist and the said focus, as if one could almost remove history, layer by layer. Numbers Standing Still, which lends the show its title, is a series of number plates accorded to nature's code of perfection - the Fibonacci sequence. Remnants of erasure and minute ink dots are layered over the printed matter to create depth while the hints of clothes with collar and buttons suggest that the plates are hung on a person's chest. These latest works by Ivy Ma primarily puncture the past with the present and are entwined with yearnings for a future. She poignantly presents remembering as a perpetual practise of removing vanity, and perhaps, at the bottom of it all, lies true liberation.
Ivy Ma received an MA degree in Feminist Theory and Practice from the Visual Art University of Leeds, UK in 2002. Her works have been included in the Hong Kong Biennial (2005) and are collected by the Hong Kong Heritage Museum. She is an Asian Cultural Council grantee (2009) and recently had a touring solo exhibition with the Artists in the Neighbourhood Scheme V (2011).
作品「Walking Towards」為此組系列定立創作取向。被原子彈毀滅的海港中，一組細微像素示意着一個渡橋人，也同時支配了整個畫面的構圖。影像源於廣島和平紀念資料館；藝術家把圖像內裡的部份空間刮除，再以顏料覆蓋在上面。馬氏憑敏銳的直覺去剪裁和變換圖像並與其本質進行緊密對話；在過程中歷史在紙上有如被一層一層的移除。另一標題作品「數字整止」是一組所謂自然界完美的編碼 - 費氏數列的號碼牌。沙膠磨滅的痕蹟和一層渺小的墨點為畫面營造出深淺效果，而一些線索例如鈕扣和衣領則提示着觀者這些原來是懸掛在胸前的編號牌。新一系列作品以「現在」刺穿「過去」也同時顯露出對未來的憧憬和渴求。馬瓊珠深刻地提出「追憶」是一個消除虛空的無休止練習。也許，這些練習最終可以帶領我們找到真正的解放。
馬氏於2002年獲取英國利茲大學視覺藝術碩士學位，主修女性主義理論與實踐。她的作品曾入選香港藝術雙年展 (2005) 並獲香港文化博物館收藏。馬瓊珠曾獲亞洲文化協會獎學金 (2009) ，近年還參與藝遊鄰里5的巡迴個人展覽計劃 (2011)。